Wengern Alp, Cheese Dairy, Cowkeeper Milking Cow, Bernese Oberland, Switzerland

This photochrome print of a cowkeeper at a cheese dairy in the Wengern Alp is part of “Views of Switzerland” from the catalog of the Detroit Publishing Company (1905). Located in the Bernese highlands near Wengen in central Switzerland, the Wengern Alp is an elevated meadow that in the 19th century was a popular attraction where tourists marveled at the view. The Wengern Alp was also a summer cattle-grazing ground. Farmers would lead their cows to the meadow and keep them there for about one hundred days. Farmers and hired hands would milk the cows and make cheese.

The Town Hall, Berne, Switzerland

This photochrome print of the town hall in Bern is part of “Views of Switzerland” from the catalog of the Detroit Publishing Company (1905). Baedeker’s Switzerland and the adjacent portions of Italy, Savoy, and Tyrol (1913) described the building as the “Rathaus or Cantonal Hall, erected in 1406-16 in the Burgundian late-Gothic style, with a modern facade approached by a covered flight of steps, and adorned with the arms of the Bernese districts.” This structure still serves as the seat of the cantonal Grand Council in Bern.

Lucerne, Hotel du Lac, Pilatus, Switzerland

This photochrome print of the Hotel du Lac in Lucerne is part of “Views of Switzerland” from the catalog of the Detroit Publishing Company (1905). The hotel was situated on the left bank of Lake Lucerne, which Baedeker’s Switzerland and the adjacent portions of Italy, Savoy, and Tyrol (1913) characterized as “unsurpassed in Switzerland in magnificence and variety of scenery.” The hotel stood against a backdrop of mountains, in particular the imposing Pilatus, which Baedeker described as “the lofty mountain rising boldly on the W. side of the lake, due S. of Lucerne . . . among the finest and most frequented points of view in Central Switzerland. Its lower slopes are clothed with beautiful pastures and forest, while the upper part consists of wild and serrated cliffs.”

Railway Bridge, Riga, Russia (i.e., Latvia)

This photochrome print of a bridge in Riga, Latvia (at the time part of the Russian Empire) is part of “Views of Architecture and Other Sites Primarily in Poland, Russia, and the Ukraine” from the catalog of the Detroit Publishing Company (1905). Constructed in 1871-72, the bridge was the first iron railway bridge to cross the Daugava River. Baedeker’s Russia with Teheran, Port Arthur, and Peking (1914) described it as “an iron Girder Bridge . . . 1/2 M. long, supported by eight granite piers,” which led to the Mitau suburb of Riga. The bridge’s nine-meter-wide track was enclosed by lattice girders, and on either side of these girders was a path for pedestrians and carts.

Chalet Suisse, Bernese Oberland, Switzerland

This photochrome print of a Swiss chalet in the Bernese highlands is part of “Views of Switzerland” from the catalog of the Detroit Publishing Company (1905). The chalet style of lodging was typified by its rustic, unpainted wooden architecture, which usually included a second-story balcony made of flat boards with cut-out designs. Traditionally 1-1/2 to 2-1/2 stories, chalets were designed to accommodate not only a farm family, but the family’s livestock, which were kept on the ground level. These chalets were typically surrounded by trees to protect against avalanches and other environmental threats.

Military Road. Fortress in the Dariel Ravine, Caucasus, Russia

This photochrome print of the military road and fortress in the Dariel Ravine (or Gorge) in the Caucasus is part of “Views of Architecture and Other Sites Primarily in Poland, Russia, and the Ukraine” from the catalog of the Detroit Publishing Company (1905). In 1799–1863, the Russian military constructed the 220-kilometer Georgian Military Highway through the Dariel Pass in the rugged Caucasus Mountains. The road stretched from Vladikavkaz in Russia to Tbilisi in eastern Georgia. The Dariel Fortress (or the Fortress of Vladikavkaz), at the northern end of the military road, was built in 1784, shortly after Russia’s conquest of the region.

The Haftarah of Jonah

This work is an artist’s edition of the Book of Jonah, one of the twelve later or minor Prophets in the Hebrew Bible. In the Jewish tradition, a Haftarah is a reading from the prophets, which takes place on the Sabbath, festivals, and holy days. With its emphasis on the theme of repentance, the Book of Jonah has become a traditional part of the synagogue service on the holiest day in the Hebrew calendar, Yom Kippur, the Day of Atonement. This Haftarah was created with original etchings and a commentary by Mordechai Beck and Hebrew calligraphy by David Moss. The book is on handmade Abaca paper produced for this edition at the Tut-Neyar Paper Mill, Zichron Ya’akov, Israel. The text was printed on an 1886 Albion handpress at the Jerusalem Print Workshop.

The Song of Solomon

This work is a modern artist’s edition of the biblical Song of Songs, traditionally attributed to King Solomon. The Song of Songs has been interpreted in different ways, ranging from literal interpretations that focus on human love between a man and a woman to those that see it as a divine allegory of God’s love for the Jewish people. This edition, by Israeli artist Tamar Messer, emphasizes the connection between the Jewish people and the Land of Israel. The text is in Hebrew and English. The original silk screen illustrations depict the flora, fauna, and landscapes of ancient Israel. The jewel-like colors and stylized imagery are reminiscent of early stained glass and reflect what the artist referred to as “the exuberant devotion” of the text. Each of the 20 illustrations is silk-screened on Arches paper, using 20–30 color plates per image.

Moriah Haggadah

The Passover, or Pesach, Haggadah is one of the most important and beloved texts in the Jewish tradition. At the beginning of Passover, Jews the world over gather around tables to read from the Haggadah, a book containing the traditional narrative of the Exodus from Egypt. “Haggadah” means recital or retelling. With its songs and tales and emphasis on the instruction of children, the ancient Passover story is the most commonly illustrated Jewish prayer book. The Moriah Haggadah was created by Israeli artist Avner Moriah, who drew his models from Egyptian and Assyrian wall paintings and figurines from the early Bronze and Iron ages, the period in which the original Passover story unfolds. Moriah used a palette of the blues, oranges, and golds that recall the Middle Eastern landscape. The text is in Hebrew, with calligraphy by Izzy Pludwinski. A separate volume, in English, contains an introduction by the artist, a commentary by Rabbi Shlomo Fox, and a translation and explanation of the images.

The New Passover Haggadah

The Passover, or Pesach, Haggadah is one of the most important and beloved texts in the Jewish tradition. At the beginning of Passover, Jews the world over gather around tables to read from the Haggadah, a book containing the traditional narrative of the Exodus from Egypt. “Haggadah” means recital or retelling. With its songs and tales and emphasis on the instruction of children, the ancient Passover story is the most commonly illustrated Jewish prayer book. The New Passover Haggadah was created by Israeli artist Asher Kalderon, who in his introduction to the book noted that he wanted to convey the excitement of family and guests gathered for the Seder. The Seder is the traditional service and meal that marks the beginning of the eight-day festival of Passover celebrating the passage of the Israelites from slavery to freedom. Kalderon’s Haggadah uses a new Hebrew type and headline fonts especially designed for this edition.